Ibsen Studies最新文献

{"title":"THOMAS OSTERMEIER’S AN ENEMY OF THE PEOPLE IN ISTANBUL","authors":"B. Dinçel","doi":"10.1080/15021866.2018.1473086","DOIUrl":"https://doi.org/10.1080/15021866.2018.1473086","url":null,"abstract":"Wherever a theatrical event is encountered, and whatever type of performance or production is witnessed, one experiences an artform that demonstrates various kinds of conflict. The theatrical genre really does not matter; even pieces made as popular culture for immediate consumption rely on simple conflict to pique the curiosity of the spectator, who in all likelihood will consume the work tout de suite without necessarily registering this conflict. The very dynamics of drama are inscribed with conflict and it cuts across genres. Within these conflict-ridden dynamics, dialectics comes to the fore; they are the vital element of drama and actualise its potential to advance critical thinking. This cannot happen only on the page; without putting dialectics into practice, theatre cannot exercise its potency. The art of theatre is, by its nature, nothing short of the communal act that comes into passing with the palpability of the here and now. As such, its praxis cannot exist without an audience. And this symbiotic relationship between spectators and performers is redolent with the dialectics intrinsic to theatre. Theatre realises its potential to challenge established values, to resist dominant policies and—to use a well-worn expression—“to change the world” by raising the critical awareness of the audience through its dialectical features, even when changing the world is not the end in itself. That dialectics is a recurrent notion in discourses on contemporary directing urges one to explicitly frame the terms of an argument that is to be pursued throughout a piece of critical writing, such as the present article. Drawing on the deep-seated affiliation","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2018.1473086","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44029566","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Nature, Pathos, Heroism: Victor Sjöström’s Silent Film Adaptation (1917) of Ibsen’s “Terje Vigen” (1862)","authors":"L. P. Wærp","doi":"10.1080/15021866.2018.1473092","DOIUrl":"https://doi.org/10.1080/15021866.2018.1473092","url":null,"abstract":"Launched in 1917, Victor Sj€ ostr€ om’s famous film adaptation of Ibsen’s “Terje Vigen” celebrated its centenary in 2017 (Sj€ ostr€ om 2006).The film was directed by the highly regarded Swedish artist Victor Sj€ ostr€ om, who also played the leading role. In the film, which was a huge success worldwide, the Norwegian coastal landscape is portrayed in imposing and powerful nature imagery. Sj€ ostr€ om was a pioneer in developing the use of landscape imagery in fiction filmmaking. This article deals with the film as an adaptation of Ibsen’s epic poem, and the main focus will be on the representation of nature in the film. How is nature exploited? How do the nature pictures relate to still landand seascapes of the pictorial art tradition? What symbolic and ideologic functions do they have? The overall argument is that Sj€ ostr€ om’s film, through its strong emphasis on nature, atmospherics and emotions as well as drama, complicates the heroism of Terje Vigen, and, moreover, that this actually picks up on something that is latent in Ibsen’s poem.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2018-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2018.1473092","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45579097","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter","authors":"T. Andersen","doi":"10.1080/15021866.2017.1395548","DOIUrl":"https://doi.org/10.1080/15021866.2017.1395548","url":null,"abstract":"With its broad presentation of the contemporary reception of each of Ibsen’s dramas, Henrik Ibsens Skrifter (HIS) certainly represents a giant step forward compared to its predecessor Hundreårsutgaven (HU, The Centenary Edition). On the whole, the reception chapters in the introductions provide students and scholars with thorough accounts of how the printed editions of the plays were received and read in Scandinavia. In fact, with some of these chapters filling 20 pages or more (cf. the introductions to Hedda Gabler in HIS 9k and When We Dead Awaken in volume 10k), the extensiveness becomes a problem in itself, raising the question of whether one should present highlights from the reception, a representative selection, or lock, stock and barrel. On closer inspection, it is obvious that there is an inconsistent practice when it comes to form, structure and content of the reception chapters in HIS. Unfortunately, no clear principles were laid down from the outset concerning what to include and how to present the reception of the written plays. These problems regarding the reception chapters of HIS, are discussed in the first part of this article. In the second (last) part, I will comment in detail on HIS’s presentation of the reception of one of the plays, Little Eyolf (LE), published in 1894 and the last but two of Ibsen’s dramas. For several reasons, LE is particularly interesting in the history of Ibsen reception, not least because this relatively obscure play, unlike some of the more celebrated Ibsen dramas, actually received generally positive reviews in its time.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1395548","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46506693","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Spidsborgere i Blæst” – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary","authors":"Klaus Müller-Wille","doi":"10.1080/15021866.2017.1403715","DOIUrl":"https://doi.org/10.1080/15021866.2017.1403715","url":null,"abstract":"The comedy De unges Forbund (1869; The League of Youth) was one of Ibsen’s greatest successes on the Scandinavian and especially the Norwegian stages during his lifetime. It is the first prose-play by Ibsen in which he deals with problems of his present age. Moreover, he uses the depiction of actual political controversies and problematic economic transactions in a Norwegian provincial town in order to outline a general crisis of the modern age. These three observations alone make it quite astonishing that the existing research on the play is relatively small. In this article, I will read De unges Forbund in the light of current discussions in German literary studies that have been inspired by Cornelius Castoriadis’ theory of the political imaginary. I think that the play deals with a crisis of the political sphere in the midst of the nineteenth century that can be traced back to a new form of hollow and populistic rhetoric and empty theatrical rituals. In order to reconstruct the corresponding political and historical-philosophical implications of the play, I will also discuss writings of Karl Marx and Søren Kierkegaard. I will combine this re-contextualization of the play with three central theses. As already mentioned, I think that Ibsen uses the comedy in order to outline a more general reflection on the historicity or “zeitgeist” of his own age. This attempt is characterized by striking contemporary observations on the effects of a populist vision of an imagined community and the corresponding power of media. Moreover, I think that the play deals more generally with the crisis of politics and history","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1403715","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49278369","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Reimagining Ibsen: Recent Adaptations of Ibsen Plays for the Chinese Stage","authors":"Shouhua Qi","doi":"10.1080/15021866.2017.1408249","DOIUrl":"https://doi.org/10.1080/15021866.2017.1408249","url":null,"abstract":"Henrik Ibsen has been one of the most studied and staged Western playwrights in China since the early decades of the twentieth century when the May Fourth generation introduced and appropriated him as a beacon for the New Culture Movement and Nora, the heroine of A Doll’s House, as a rallying cry for the cause of women’s liberation. For much of the twentieth century, since her 1923 debut via the bold performances by students of Peking Normal College for Women, Nora had been enjoying the spotlight on the Chinese stage, having inspired many a Chinese Nora both on and off the stage (Qi 2016, 343–352). Things have changed, however, since the 1980s. Not that the old favorite has faded in any shape or form, but that Nora’s siblings, overshadowed for a long time, have begun to (re)appear and shine on the stage too as the Chinese find that there is much more to Ibsen than A Doll’s House and indeed there is more to the character of Nora than as a champion for women’s liberation (Chen 2009, 130–132; Song 2011, 49–51; T. Wang 2011, 9). Some of them, such as Tomas Stockmann of An Enemy of the People, who figured in Lu Xun’s 1907 essay on European satanic poets, are rediscoveries whereas others, such as Peer Gynt, the “exuberant, outrageous, vitalistic” (Bloom 1994, 357) titular character of the 1867 play (first produced in 1876), and Hedda Gabler, the titular character of the 1890 play (first produced in 1891), are new ventures. From the usual suspects of problem plays to the romantic and modernist dramatic works, Ibsen has proved a gift that has kept on giving for over a century, a catalyst as well as a challenge that has never lost its refreshing rigor. Remaining as relevant, polemic, and potentially subversive today as ever before, Ibsen’s plays such as An","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1408249","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41867113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preface","authors":"F. Helland","doi":"10.1080/15021866.2017.1408937","DOIUrl":"https://doi.org/10.1080/15021866.2017.1408937","url":null,"abstract":"Ibsen’s 1869 comedy, The League of Youth, was highly successful on the Norwegian and Scandinavian stages during the author’s own lifetime. In prose, and through comedy, he deals with contemporary problems of a political, economic and social nature; a Norwegian provincial town is the setting for a play which aims at problematizing agonizing problems of the modern age. Even though this seems important and familiar enough to us today, this play is seldom read, written about or staged today. However, Klaus Müller-Wille, in his article “‘Spidsborgere i Blæst’ – Henrik Ibsen’s De unges Forbund and the Crisis of the Radical Political Imaginary”, aims to give a reading of the play that can bring forth the strong and topical, even provocative issues embedded in the play. Inspired by Cornelius Castoriadis’s concept of the political imaginary Müller-Wille clarifies the critique of a modern political culture, “the crisis of politics and history” in Ibsen’s world, still with us today. In order to reconstruct the “political and historical-philosophical implications of the play”, he also draws on the writings of Karl Marx and Søren Kierkegaard. Torbjørn Andersen’s article, “The Contemporary Reception of Little Eyolf and its Presentation in Henrik Ibsens Skrifter”, also focuses on Ibsen’s works and their immediate context. Andersen gives a thorough account of Little Eyolf ’s first phase of reception, highlighting many interesting aspects of the early discussion of the play, above all in Scandinavia. His rich material is important in itself, but it is also put to use in a well-balanced critique of the most “authoritative” account of the play’s reception today, namely the one presented in Henrik Ibsens skrifter (HIS, Henrik Ibsen’s Writings). Hence, he shows not only what is missing in the reception history given in HIS, but also reflects on the (lacking) editorial principles of HIS. His article, then, not only gives important new information about the reception of Little Eyolf, but also represents a contribution to the on-going discussion of the philological and editorial principles of large editions like this one.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1408937","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47240704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"O Errikos Ibsen stin elliniki skini: apo tous Vrikolakes tou 1894 stis anazitiseis tis epohis mas","authors":"Anna Stavrakopoulou","doi":"10.1080/15021866.2017.1394608","DOIUrl":"https://doi.org/10.1080/15021866.2017.1394608","url":null,"abstract":"Yannis Moschos’ (b. 1971) combined qualities as a theater scholar and a stage practitioner are discernible throughout his lengthy study of the Ibsen phenomenon in Greece. In seven chapters, he presents, analyzes, and synthesizes the trajectory of Ibsen’s fate in the hands of a few dozen Greek directors and a multitude of actors, who undertook to incarnate his Noras, Heddas, Osvalds, Borkmans, and a lot more from 1894 to 1999. Between the first brief chapter, which presents an overview of the first stagings of Ibsen in Greece (1894–1910), an era previously covered by Nikiforos Papandreou in his seminal book O Ibsen stin Ellada: apo tin proti gnorimia stin kathierosi 1890–1910 [Ibsen in Greece: from the first acquaintance to being established 1890–1910] (Athens, 1983) and the last and lengthiest chapter, which deals with a renewed interest in Ibsen between 1985 and 1999, a fascinating narrative is put together for the reader, with facts, figures and people that map out expertly Ibsen’s presence in Greece. At the same time, Moschos offers an implicit overview of twentieth-century Greek theater, given that the most important directors attempted to decipher Ibsen’s often puzzling characters for Greek audiences of their time. The book, the first volume from the new publishing house Amolgos, which specializes in theater and philosophy, can be read horizontally or vertically, depending on what one is seeking. Starting from the more easily accessible vertical charts in the CD, one can get a bird’s eye view of the data, which include all the information regarding the productions staged until 2015: one can read where and when a play was staged, how many times and by whom, with painstaking details on the cast and creative teams; Moschos also tracks","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1394608","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48172155","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When Nora Stayed: More Light on the German Ending","authors":"Christian Janss","doi":"10.1080/15021866.2017.1324359","DOIUrl":"https://doi.org/10.1080/15021866.2017.1324359","url":null,"abstract":"Henrik Ibsen’s A Doll’s House (Et dukkehjem. Skuespil i tre akter, 1879) owes its worldwide reputation to the last scene, where Nora leaves her husband and children. A little less known is the German, alternative ending of Nora – the title commonly used in the German speaking world – where she stays. In the field of theatre studies, this ending is commonly recognized. The fact that Ibsen himself wrote it in 1879 – and tolerated its performance for a while – also belongs to established knowledge. The circumstances of the genesis and distribution of this very special piece of text have, however, not yet been presented in a manner giving attention to all aspects. My main arguments are:","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1324359","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43408728","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Et Dukkehjem in Arabic Translation","authors":"Gunvor Mejdell","doi":"10.1080/15021866.2017.1308170","DOIUrl":"https://doi.org/10.1080/15021866.2017.1308170","url":null,"abstract":"As has often been noted, authors of original works make “national” literature, while translations (and translators) make “world” literature. Ibsen’s plays were translated from Norwegian into English, German, French, Russian, and other European languages, and only from these relay translations into languages of the world beyond. And it was in such a “world literature” framework the plays were translated into Arabic, in series such as “Masterpieces of World Drama”, “World Theatre”, and “Library of world dramatic work”. In this article, I will discuss some translations of Et Dukkehjem (A Doll’s House) into Arabic. To begin with, I shall provide a short literary, cultural/political and linguistic background for framing these translations in the Arabic literary “polysystem”. Next, I will discuss some challenges encountered when trying to map Arabic Ibsen translations and their sources, before I present “my” translations of A Doll’s House and make some textual comparisons with a focus on certain key linguistic and cultural items.","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1308170","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49107571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Preface","authors":"Á. Cunha","doi":"10.1080/15021866.2017.1351054","DOIUrl":"https://doi.org/10.1080/15021866.2017.1351054","url":null,"abstract":"It seems safe to say that hardly any play in the history of world drama has had so many and such different endings as A Doll’s House. These multifarious endings have been the subject of a number of recent investigations. Christian Janss contributes to this discussion by revisiting what is arguably the most prominent of these differing endings, namely the one authored by Ibsen himself. In his article “When Nora stayed: More light on the German Ending” Janss takes issue with the myth, initially produced by Ibsen, that the person chiefly responsible for his being “coerced” into writing an alternative ending was the actor Hedwig Niemann-Raabe. According to Janss, it was, however, not her initiative nor was she a figure central enough to exert such influence. Instead, Janss’ detailed and well-researched argument illustrates how the male agents within the theatrical system can more likely be held responsible. In addition to this insightful analysis, he also reveals new evidence about the actual dissemination and use of the alternative “German” ending. Gunvor Mejdell’s article “Et Dukkehjem in Arabic Translation” also touches upon the various endings of Ibsen’s most famous play – not only in performance but also in translation. In Arabic book translations Ibsen’s original ending has been respected, even if some versions add a slightly different nuance to the play, as Mejdell demonstrates. Before getting to the textual comparisons between different translations “with focus on certain key linguistic and cultural items,” Mejdell provides a valuable literary, cultural, political and linguistic background for these translations into Arabic. She also introduces some of the challenges encountered “when trying to map Arabic Ibsen translations and their sources.” It is indeed a fact that most translations of Ibsen’s plays into this language culture have been relay translations, translated from other – mainly English – translations. This is, however, about to change with the new translations currently being published in Cairo as part of the project “Ibsen in Translation”. One issue specific to this region is the debate over which version of Arabic to choose, the classical Arabic or some","PeriodicalId":41285,"journal":{"name":"Ibsen Studies","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2017-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/15021866.2017.1351054","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43597230","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}